Aab Abayas: Named Designs and Details

Aab’s About Us page identifies it as an independent London label. This guide follows named abayas through their product descriptions and official photographs, concentrating on the details that distinguish the designs. The aim is to give each example a clear identity before you decide how it might sit in your own wardrobe.

Garment details below refer to the particular versions reviewed on 29 October 2026. A styled photograph alone does not confirm which accessories are supplied.

Hoods, wraps and different front treatments

Cove: a hood above a plain navy body

Cove is Aab’s navy fleece design with an attached hood, wide sleeves and covered buttons along the upper front. Its material entry gives 60% cotton and 40% polyester. In the official photograph, the raised hood creates a rounded outline around the head, while the long lower part remains largely undecorated. The buttons stay close to the navy ground in colour. Source: Aab, Cove Abaya Hoody Navy.

That concentration of detail high on the garment is its most useful visual distinction. The hood and short button sequence give the top a recognisable shape without carrying decoration down to the hem. If that upper arrangement appeals to you, consider how it would sit beside your usual scarf. A thick knot at the neck would occupy some of the same area.

Fern: a diagonal wrap front

Fern uses olive fleece in an asymmetrical jacket-style design. Aab specifies a standing mandarin collar, a button fastening to one side and long sleeves with a finger loop. The material entry is 50% cotton and 50% polyester. In the photograph, the upper front crosses diagonally towards the side button, giving the chest area a clear direction. Source: Aab, Fern Wrap Abaya Olive.

The diagonal edge is worth following from the collar to its fastening point: it explains the design more clearly than the broad label “wrap”. Below that crossing, the olive fabric continues into a comparatively simple A-line fall. The finger loop is a written construction detail, although it is not clearly resolved in the main image. If that feature attracts you, a close sleeve view would be useful. Keep the collar and diagonal edge in mind when deciding how much of the upper front you want a scarf to reveal.

Side Button: decoration along the edges

The Side Button Abaya in Charcoal has a straight outline and a round neckline. Aab describes ring buttons on both sides; the material record lists 65% polyester and 35% viscose. The main photograph leaves a broad, plain area through the centre, with the small ring-like details placed nearer the sides. The description also calls the colour grey. Source: Aab, Side Button Abaya Charcoal.

This makes the position of the decoration more significant than its size. From the front, the eye can follow the uninterrupted central fabric before noticing the repeated details beside it. A front-only crop would give a less useful impression of that arrangement than the full-length view. The wording describes the rings as adornment, so it does not establish that they open the garment.

Mocha Trench: lapels and a tied closure

Aab’s Mocha Trench Abaya is an open, twill-labelled outer with a belt made from the same fabric. The description identifies wrapping and tying as its button-free closure, and lists side pockets. Its composition is 65% polyester and 35% viscose. The official image shows broad notched lapels framing a similarly coloured garment beneath. Source: Aab, Mocha Trench Abaya.

The lapels introduce two conspicuous angles near the neckline, while the long fronts continue that framing further down. The photograph presents the outer open, so the central base occupies a substantial part of the pictured outfit. That is a useful arrangement to consider alongside the written tied-closure option. A similar-toned base would retain the photograph’s close colour relationship; another colour would make the opening more apparent. The listing does not confirm the pictured inner as part of the product, so treat the outer and the chosen base as separate decisions.

Separate pieces and the appearance of layers

Two Piece Suit: a documented jacket and slip

The black Two Piece Suit Abaya explicitly combines a jacket-style outer with a sleeveless slip, sold together. Aab lists side pockets and a 100% viscose composition. The photograph shows the outer’s long lapelled fronts surrounding a black inner with a rounded neckline. Although the colours agree, the separate neckline makes the two garments legible. Source: Aab, Two Piece Suit Abaya Black.

The relationship between those necklines is the design detail to study. The curved edge of the slip sits between the outer’s more angular lapels, producing interest within an all-black arrangement. When considering the outfit, look at the amount of inner visible above and between the fronts, as well as the outer’s length. A scarf laid across the upper chest would change how clearly the rounded inner neckline appears.

Woven: a top-and-skirt appearance in dark green

Aab presents the dark-green Woven Abaya as a combined top-and-skirt design with a zip at the back. It lists a self-print surface and 100% polyester. In the image, a short upper section sits visually above a more gathered lower area, with a fine tonal geometric pattern continuing across the garment. The product record does not identify a separately supplied top or skirt. Source: Aab, Woven Abaya Dark Green.

The horizontal division gives the design a different rhythm from a single uninterrupted front. Look at where the upper edge finishes and how the lower folds begin beneath it. Those two areas carry the same close-toned pattern, so the change is mainly in shape and direction. If you enjoy the appearance of coordinated separates, this is a specific integrated example to consider.

Layla: an overlapping upper section

Layla in Natural is described as a straight-cut abaya with an overlapping upper section. Aab expressly calls the result a two-piece illusion and lists 100% polyester. The photograph shows a pale, plain upper panel ending across the waist area, with a straighter lower section continuing beneath it. Broad cuff bands add smaller horizontal edges at the sleeve ends. Source: Aab, Layla Abaya Natural.

Here the plain fabric makes the panel edge easy to recognise. There is little surface pattern competing with the line where the upper section ends. Consider that edge together with the cuffs: both interrupt the long vertical outline, but at different heights. A long scarf end crossing the panel would introduce another line over this arrangement. You might prefer that added division or choose a shorter fall that leaves the panel clearer, within your own coverage preferences.

Lines, ties and sleeve construction

Front Seam: a central line and low funnel neck

Aab’s black Front Seam Abaya has an A-line shape and a low funnel neckline. The description calls the cloth fleece-like, while the material field specifies 100% polyester. In the photograph, a raised seam runs vertically through the centre of a largely plain front and meets the small standing neck. The sleeves are similarly undecorated. Source: Aab, Front Seam Abaya Black.

The seam gives the eye a route through the garment without introducing a second colour or an embroidered motif. Its meeting point with the neckline is especially useful to notice: two simple construction lines provide the upper design. A necklace hanging down that same central route would add another element over it. The product description identifies a seam, so the photograph should not be used to assume a central opening or hidden fastening.

Black Cheesecloth: a tie and tassel at the neck

The Black Cheesecloth Abaya places its small decorative feature at the front neckline: a tie finished with a tassel. Aab also specifies a straight cut, side slits and side pockets. Its composition is 50% cotton and 50% polyester. The official front view shows the narrow neck opening and hanging ties against a lightly textured-looking black surface. Source: Aab, Black Cheesecloth Abaya.

The tassel draws attention to the point where the neckline opens, while most of the body remains plain. It is a small detail whose visibility will depend on the scarf arrangement above it. You could let it fall below the scarf edge, or cover it if that suits your preferred neckline. The stated side slits are less apparent in this particular front view; their position and extent should be established from a clearer image if they matter to your intended outfit. The cheesecloth name does not alter the published blend.

Raglan: shoulder seams leading into fuller cuffs

The plum Raglan Abaya uses a raglan cut, puffed cuffs and an A-line outline. Aab names twill, lists 65% polyester and 35% viscose, and specifies a removable belt with side pockets. In the photograph, the shoulder seams travel from the neckline towards the underarm area, while the sleeve fabric gathers towards the wrists. Source: Aab, Raglan Abaya Plum.

Those two parts of the sleeve tell the design’s story: a sloping upper join and a fuller end. The main body stays comparatively plain, allowing the sleeve construction to remain noticeable. The removable belt offers a separate choice about the waist, without changing the documented shoulder cut. When considering this example, look first at the sleeves with the waist unaccented in the main view, then decide whether you would enjoy another horizontal line from the belt.

Black Magnolia: a tonal print and tapered sleeves

Black Magnolia combines a black floral self-print with a front that opens fully. Aab specifies hidden buttons and batwing sleeves narrowing into fitted cuffs, finished with buttons covered in the garment fabric. The material entry is 100% polyester. The photograph shows the tonal floral drawing spreading across the body and sleeves while the central fastening line stays quiet. Source: Aab, Black Magnolia Abaya.

This design asks you to look at both surface and outline. The floral marks are close to the ground colour, so they become clearer where the fabric lies more openly. The broad sleeve shape then narrows towards the wrist, changing how that pattern is presented. A plain supporting layer would leave those two features easy to distinguish. The hidden front buttons are useful written information because the complete outfit image reveals the overall shape more readily than the fastening.

Shape through a cape or drawcord

Dalia: an attached cape over an empire shape

Dalia is Aab’s brown empire-style design with an attached cape. The listing says it is fully lined, naming 100% polyester for both garment and lining. In the official image, the cape spreads over the shoulders and across the upper front, then falls down either side. Narrower sleeves remain visible beneath that broad upper layer. Source: Aab, Dalia Abaya.

The cape changes the outline before any extra accessory is added. Its wide upper shape and hanging side edges are different parts of the same attached feature. Look at the point where the cape crosses the front and the longer lines it creates towards the sides. A shoulder strap would pass over some of that draped area, so include your usual bag in any outfit plan built around the cape. The word “attached” matters: the documented design incorporates this layer, and the listing does not describe removing it to produce another garment.

Mira: a kaftan outline gathered by a drawcord

Mira in Plum is described as a kaftan-style abaya with an inbuilt drawcord. Aab lists a fully lined construction, with 100% polyester for both the main garment and lining. The official photograph shows a broad upper outline drawn inward at the front, above a long, relatively plain lower fall. The gathering makes the drawcord’s position visible. Source: Aab, Mira Abaya Plum.

The interest is in the change between width and gathering. The fabric spreads out around the upper body, then forms smaller folds where the cord draws it together. If that gathered centre is the feature you enjoy, consider where your scarf ends would fall in relation to it. The image demonstrates one arrangement of the cord and fabric; it does not establish the full adjustment range. A useful closer view would show the cord’s exit points and fastening, allowing you to understand the mechanism as well as the photographed silhouette.

Flowers, motifs and the placement of embroidery

Cherry Blossom and Frangipani: raised floral detail

Cherry Blossom places pale crochet flowers across a pink garment, with loose sleeves and a lining. Its prose calls the cloth georgette; the material field says 100% polyester chiffon, with a 100% cotton lining. Those descriptions should remain distinct. The front image shows small raised flowers on branching lines near the upper body. Source: Aab, Cherry Blossom Abaya and Frangipani Abaya Black.

Frangipani’s black version is described with three-dimensional floral embroidery and 100% viscose. Its rear photograph shows cream flowers with pink centres connected by gold-toned stems across the shoulders and down the back. The two designs offer related raised-flower treatments with different documented cloth and arrangements. Notice the actual spread of the flowers: a small front cluster and a longer rear drawing create different areas of interest. A scarf covering the upper back would conceal some of the photographed Frangipani pattern, while leaving its lower stems visible.

Behzad: a broad embroidered cuff

Aab attributes Behzad’s design inspiration to miniature art and the artist of that name. The useful garment evidence is more immediate: embroidery across the cuffs, a rear zip and an optional belt included with the abaya. Its material record says 100% viscose. The close photograph shows broad cuff panels filled with green, peach and cream plant-like forms, enclosed by narrow borders. Source: Aab, Behzad Abaya.

The cuff is almost a small picture plane within the otherwise dark garment. Several rows of drawing are visible, so its effect depends on more than one isolated flower or leaf. The wide end of the sleeve gives those rows room to be seen. If the cuff is why the design appeals to you, compare a close view with the complete garment to understand its scale.

Celi: a linear motif below the back buttons

Celi is a black abaya with decoration at the back and cuffs, listed as 100% cotton. Aab describes its inspiration as Islamic calligraphy. In the rear photograph, a vertical row of decorated-looking buttons leads towards a gold linear motif below it. A related gold drawing appears at the visible cuff. The surrounding black fabric leaves those marks clearly separated. Source: Aab, Celi Abaya Black.

The composition has a strong centre: the button row gives it a long vertical approach, then the larger motif widens near its lower end. That arrangement is easier to understand from the rear view than from a front outfit photograph. Consider how far a scarf or outer layer would fall down the back if you want this detail to remain visible.

Cypress Tree: a slender motif with narrow borders

The Cypress Tree Abaya is described with tree embroidery, decorated buttons and a flared shape. Aab lists 100% viscose. Its three-quarter photograph shows a tall, pale tree-shaped motif towards the rear, with narrower botanical-looking bands around the collar and cuffs. A line of small buttons marks the centre of the front. Source: Aab, Cypress Tree Abaya Black.

The different scales of the decoration give this example its identity. The tree is an individual vertical form, while the collar and wrist details behave as borders. They can be recognised separately even though they share a pale-on-black relationship. Look at the image from the shoulder down to the lower edge of the tree to see how much plain cloth surrounds it. That space helps the motif read as one distinct shape.

Dhahabi and Tayaat: two geometric arrangements

Aab describes Islamic architecture as the inspiration for both Dhahabi and Tayaat. Dhahabi has a mandarin collar, gold embroidery across the bodice, pockets and a detachable belt. Its photograph places two broad decorated bands down the upper front, above the tied waist. The remaining front continues into a long button line. Source: Aab, Dhahabi Abaya and Tayaat Abaya.

Tayaat’s record identifies embroidery on front and back, with buttons at the cuffs and rear. The back photograph shows a framed gold linear motif below a button row, echoed in broader cuff panels; the scarf obscures part of the upper back. Both material entries list 100% viscose. Their distinction is the photographed arrangement: Dhahabi gives the front bodice two broad vertical areas, while Tayaat’s rear view brings attention to a contained motif and cuff frames.

Golden Neem, Neroli and Qasba: three placements

These three black A-line designs are each listed as 100% cotton, but the photographs place their gold-toned drawing differently. Golden Neem’s rear view has a compact botanical-looking motif centred on the back. Neroli’s front has a narrow floral line descending from a round neckline to a small branching shape, beside dark vertical pleats. Source: Aab, Golden Neem, Neroli and Qasba Abayas.

Qasba places repeated teardrop-like motifs across the upper chest, below a split neckline with a small standing collar. Aab also identifies cuff embroidery on Golden Neem and Qasba, and decoration at the front, sleeves and back of Neroli. Compare the complete arrangements rather than choosing from the shared black-and-gold palette alone. The main distinction is where the drawing asks you to look: the centre of the back, a narrow route down the front, or a row across the bodice.

Zardozi: a floral frame around the upper front

Aab’s black Zardozi design has gold embroidery on the front and back, decorated buttons and pockets. Its material entry lists 100% viscose. In the front photograph, a broad floral line curves into a U-shaped frame around the upper body, enclosing a short row of buttons. Smaller floral accents mark the wrists, while most of the lower garment stays plain. Source: Aab, Zardozi Abaya Black.

The frame creates an area within an area: the button row sits inside the embroidered boundary, and the boundary itself sits within the larger black outline. That is the detail to notice when considering a scarf arrangement. A long end down the centre would cross the space inside the frame; an end falling to one side would interrupt a different part of the drawing. Either can be an intentional choice.

Taking a design forward

Once a particular design interests you, our guide to Aab clothing and purchase details develops the sizing and ordering questions. For a festive event, the Eid abaya guide considers the wider occasion outfit. Keep the exact garment name beside your notes, so the detail that first caught your attention remains part of the decision.